Oct 22 2012
Kinshasa Kids
Kinshasa Kids is a documentary-style film that uses real stories as the basis for its actors’ scripted performances. Director Marc-Henri Wajnberg uses musical interludes to restore some childishness and carefree amusement to the homeless children who are unfortunately immersed in the struggle of day-to-day survival. Though thousands of children are forced onto the streets of Kinshasa, Africa for being “witches,” Wajnberg shows how these children take time away from looking for work or scrounging for food in order to perform the music that they love. Even though these children are forced to grow up at a young age, they are still able to enjoy singing, dancing, and just having fun.
Wajnberg keeps returning to this theme of musical silliness, and provides a break from the fighting-to-survive storyline. He achieves this by switching between shots of abject poverty and upbeat performances. Even one of the most confusing and controversial parts of the film, when the young girl Rachel is raped, is then followed by the large closing musical number. The children decide to name their band “The Devil Does Not Exist” which reminds the viewers that although the children seem happy and carefree, they still are forced to live on the streets because they are “witches.” Even though the children themselves mock the notion of witchcraft, there is nothing they can do to change their reputation.
Kinshasa Kids feels like a real documentary, even though it uses actors with scripted performances. This is the power of Wajnberg as an auteur. He’s able to give his film an authentic feel by only basing it on true stories, and by leaving in some unscripted portions. For example, at one point the van in which Bebson, the children’s musical mentor, is riding, gets into an accident. Wajnberg incorporates this totally unscripted event into the film. Also, Kinshasa Kids is shot using only a handheld camera, which also gives it a real-life feel. After I watched Kinshasa Kids, Wajnberg himself got on stage for an audience question and answer session. When asked why he made light of Rachel being raped, he said that he was merely conveying what it’s really like in Kinshasa. A vagabond child being raped is an everyday occurrence that is not met with shock or horror. In fact, upon showing Kinshasa Kids to the local cast and crew, Wajnberg said he noticed that many of them were laughing during this scene. Kinshasa Kids is as authentic a portrayal of Kinshasa as an unscripted documentary would have been.
Kinshasa Kids is very successful at incorporating both aspects of the children’s existence, as vagabonds, and as aspiring performers, without seeming unbelievable. This is because the children get help from an adult, Bebson, and because their instrumental noises are made primarily using everyday objects like walls, containers, and their hands. It seems like the children are resourcefully trying to make their own fun whilst still being forced to live on the streets. The film follows them alternately trying to get work and trying to come up with ideas of how to use their musical talents. This culminates in them making a concert in order to collect donations from audience members.
I found Kinshasa Kids to be informative, thought provoking, and moving – all things that a great documentary should be. I think that Marc-Henri Wajnberg succeeds in doing this by creating his own storyline but making it as close to a real documentary as possible. This allows him to achieve his goals while garnering audience sympathy. And there’s nothing to capture audience attention like a good musical performance.
Wajnberg keeps returning to this theme of musical silliness, and provides a break from the fighting-to-survive storyline. He achieves this by switching between shots of abject poverty and upbeat performances. Even one of the most confusing and controversial parts of the film, when the young girl Rachel is raped, is then followed by the large closing musical number. The children decide to name their band “The Devil Does Not Exist” which reminds the viewers that although the children seem happy and carefree, they still are forced to live on the streets because they are “witches.” Even though the children themselves mock the notion of witchcraft, there is nothing they can do to change their reputation.
Kinshasa Kids feels like a real documentary, even though it uses actors with scripted performances. This is the power of Wajnberg as an auteur. He’s able to give his film an authentic feel by only basing it on true stories, and by leaving in some unscripted portions. For example, at one point the van in which Bebson, the children’s musical mentor, is riding, gets into an accident. Wajnberg incorporates this totally unscripted event into the film. Also, Kinshasa Kids is shot using only a handheld camera, which also gives it a real-life feel. After I watched Kinshasa Kids, Wajnberg himself got on stage for an audience question and answer session. When asked why he made light of Rachel being raped, he said that he was merely conveying what it’s really like in Kinshasa. A vagabond child being raped is an everyday occurrence that is not met with shock or horror. In fact, upon showing Kinshasa Kids to the local cast and crew, Wajnberg said he noticed that many of them were laughing during this scene. Kinshasa Kids is as authentic a portrayal of Kinshasa as an unscripted documentary would have been.
Kinshasa Kids is very successful at incorporating both aspects of the children’s existence, as vagabonds, and as aspiring performers, without seeming unbelievable. This is because the children get help from an adult, Bebson, and because their instrumental noises are made primarily using everyday objects like walls, containers, and their hands. It seems like the children are resourcefully trying to make their own fun whilst still being forced to live on the streets. The film follows them alternately trying to get work and trying to come up with ideas of how to use their musical talents. This culminates in them making a concert in order to collect donations from audience members.
I found Kinshasa Kids to be informative, thought provoking, and moving – all things that a great documentary should be. I think that Marc-Henri Wajnberg succeeds in doing this by creating his own storyline but making it as close to a real documentary as possible. This allows him to achieve his goals while garnering audience sympathy. And there’s nothing to capture audience attention like a good musical performance.
Now that I read your post and thought about it, the point you make about the music is right on target! The film keeps switching between the scenes of poverty and then back to music – sad and heartbreaking and then happy and upbeat… That highlights how two-sided their situation and life are: they’re being robbed of their childhoods in a way, but that barely matters as they try to just survive another day! The music conveys their childhood (or lack thereof) and the poverty portrays their real-life situation.
What a fascinating take on the film.
At the part where Wajnberg said that his cast and crew were laughing during the rape scene, I was completely horrified. Its a good example of portraying how corrupt Kinshasa is. Why do you think Wajnberg tried to make this a dramatic scene if the point is that it was not a big deal to them?
I think he put it in because that plays an important part in how he views Kinshasa. It’s similar to why he put in the scene of the policeman yelling about how there’s a white man videoing. It reflects his experience in Kinshasa.